1/400th at F8, ISO 800 (28mm).
The strong red and green colors all over this scene are what draws a lot of the attention, but it's the small bottle of yellow tea in the bottom right that completes the image.
1/400th at F9, ISO 1600 (28mm).
This was a portrait and not candid. I'm often surprised by how many people ask me to take their photo when walking around with my camera.
Man, I wish I could take credit for this one, but it belongs to Tanja Nilsson, who took it on a recent Central Park / Midtown tour on a gorgeous, rainy day. In the foreground is a class of painting students and in the background is a lone, waiting groom or groomsman.
It's the best Bethesda Terrace image that I've seen to date.
1/100th at F3.5, ISO 3200 (40mm).
One of the most fascinating and best storyteller that I've ever met. Over the years he's been a storyteller, submariner, actor, theatre sound tech, OTB announcer, and a computer systems / network administrator.
This is an excerpt. Read the full interview on evgrieve.
"I’ve been here a long time. I’m from Philadelphia originally. I was in the military when I was 18 and I got out at 22. I was down in a submarine. It’s a strange life. Then I went back to Philly and I went to a drama school for 3 years. Then I moved to New York for Summer Stock [Theatre]. I was passing through New York on my way to California and was taking some acting classes with Stella Adler and I kind of got sidetracked.
The first job I got was on 4th Street between 2nd and the Bowery. It was a good theater block. Cafe La MaMa was there and the Playwrights Horizons and the Fortune Theatre. There was a lot going on in that little neighborhood. So the first job I got was as an assistant stage manager, a sound man, and an understudy for Michael Douglas for the very first play he was ever in in New York, called 'City Scenes.' Dominic Chianese, the Uncle from 'The Sopranos' was in it as well as Raúl Juliá.
I got to move down here by way of the West Village. I moved in with a lady on Washington Place for awhile and when that ended I had nowhere to live. I was going to the School of Visual Arts for awhile and I slept in my instructors loft until he got tired of me, so I moved in with acting friends from Summer Stock on East 9th Street for a couple months. It was really awkward because there were four of us living in a tiny apartment. We had to smoke a lot of dope to stay sane.
So they helped me get the apartment on St. Mark's Place across from the Electric Circus — building number 26. In the ‘60s and early 70s, the Electric Circus was like the Studio 54. It was like a happening place. You would take acid or mescaline or mushrooms or something and go in there and the whole place was designed to make you go bizarro.
I only wanted to be an actor and at the time I erroneously thought that if I worked in the theater rather than doing some regular menial task that at least I would get to know people. Just the opposite happened. Over 3 or 4 years, I gained such a reputation as a competent technical person, who were hard to find outside the union, that it was all the jobs I was getting. I would audition for a part for a Broadway producer, who would know me cause I did his sound work and he would say, ‘C’mon Phil, actors are a dime-a-dozen. We need a stage manager.’
I wound up managing a recording studio that worked with the theater for several years, while I was still looking for acting work. I was the manager, but every summer I laid myself off because we did only theater recordings mostly, and rented sound equipment to theaters and there was no work in the summer. So we’d sit out front on the stoop and smoke dope and drink wine all summer. I did that for like 4 or 5 years in the early ‘70s. It was kind of like a four-year party. People were in and out all the time, crashing, the building was very liberal in terms of sexuality and drugs and stuff. That was around ‘70 to ‘75 or ‘76.
I started to grow up a little when I met my wife. We went on our first date to the midnight movie show at the St. Marks Theatre to see 'Reefer Madness.' It cost $1 and you could bring your own food in and your own weed in and you could sit there all night and nobody would ever hassle you..."
Read the rest on evgrieve.
1/400th at F2.5, ISO 400 (28mm).
The best rat trap ever. I remember when my first cat used to catch rats and leave them on the floor as presents.